A pair of agate and diamond cufflinks by Fabergé. Each elliptically-shaped terminal composed of a single piece of agate, bordered with facetted diamonds, the reverse with a gadroon motif in gold, connected by yellow gold chains, circa 1900, marked ‘KF’ for Carl Fabergé, 56 xolotnik gold standard. Each terminal measuring 1.2 by 0.8 cm. #symbolicchase #faberge
This pair of rock crystal and diamond clip brooches, designed by Suzanne Belperron, made circa 1935 and included in both books written about her work, epitomise both the jeweller and their time. Much has now been written about Suzanne Belperron and her name has been successfully plucked from relative obscurity to the forefront of vintage jewellery consciousness. She has become recognised for her very particular style, a style that was so unique she predicted she would not need to sign her jewels as those who knew her work would instantly recognise one of her jewels. And, as it was once true within an international fashionable elite of the mid 20th century, so it is again once more. One of the pillars of this style was her extensive use of semi-precious stones, in which she often embedded precious materials. Her visions were expertly realised by the lapidary Adrien Louart and the workshop Groëné et Darde. This brooch is a variation of her ‘fan’ design and a perfect example of her virtuoso use of rock crystal, a material she was evidently fond of as she used it in many of her designs. For this jewel it has been facetted as you would a precious stone, playing with the idea of it as a diamond, embellished by actual diamonds...creating the play of light between rock crystal, polished metal surfaces and diamond that many artists in this period explored. Their scale is another fashionable evolution of the period, this bold unabashed design catches the eye from afar rather than the intimate and intricate designs that were popular at the beginning of the century. The clip brooch was one of the exciting evolutions of the 1930s, its versatility and endless reinvention appealed to the high fashion circles in which Belperron had her devotees.. worn around necklines - front and back, attached to the upturned rims of hats, practical fasteners, for gathering fabric at the waist or a scarf around the neck...the possibilities were (and still are) endless and Belperron made many, in single and double-clip examples. #symbolicchase #belperron
A silver model of a recumbent sow, by Fabergé. Humorously cast and chased as a sleeping sow, 1904 - 1908, marked on edge with ‘Fabergé’ in Cyrillic beneath the Imperial Warrant and workmaster’s initials for Julius Rappoport, St Petersburg. Dimensions: 16.5 cm. long. Total weight: 287 grams. Most known for this bejewelled ornamental Easter Eggs, Carl Fabergé’s (1846 - 1920) naturalistic subjects such as flowers and animals are perhaps his second most iconic creation. Although these are most well known in carved stone, many were similarly realistic and characterful. Within the known examples of these smaller carved agates and quartzes is a number of pigs, who seemed a popular subject in both London and Moscow. There is an example of a recumbent sow that was carved in aventurine quartz and modelled by one of the team of sculptors who visited the Sandringham Estate and observed the famed Norfolk breed living there. This particular silver model is of course larger than the diminutive examples and is made by the workmaster Julius Rappoport who was a leadingg figure in the Fabergé workshop from 1886 -1908. Particularly known for his large silver animals, this sow is expertly cast and displays material-defying realism. Even more endearingly, she seems rather content and you can almost hear her contented little snores. #symbolicchase #symbolicandchase #faberge
A Romantic Neoclassical agate intaglio watch key. Designed as an oval-shaped orange agate plaque, the burnt top layer engraved to one side a scene with a winged putto riding a chariot drawn by two birds, and to the other with a scene depicting a winged putto riding a chariot drawn by two goats, within a gold surround and metal key elements, European 19th Century. Dimensions: Length 4.7cms Total weight: 4.50 grams. Romantic little trinkets are one of the more amusing fads from the 19th century, this watch key mirrors the sentimental depictions of putti or cupids popular also in antiquity...unlike the banded agate examples where the stone’s natural bands of colours - such as milky white and orange as replicated here - are carved into to create scenes, this intaglio imitates this material by using a treated layer. I’m not sure how it’s done...despite casually asking around...there was talk of a rumour of it being burnt sugar or milk.... I’m sure someone knows and I would love to find out so welcome the information if someone has it! #symbolicchase #symbolicandchase #intaglio
A Colombian emerald and diamond ring by contemporary jewellery artist Theodoros. The central oval-shaped emerald weighs 8.09 carats and, rare in size and colour, it is also incredibly transparent despite having no oil treatment... The cut and shape of the diamonds surrounding the emerald have been carefully cut specifically for the piece. They are set without metal in between each stone creating a trompe l’œil effect as the eye attempts to decipher the reflections to understand the shimmering landscape in which the emerald sits. The transparency of the emerald is mirrored in the transparency of the diamonds that surround it, giving the solid stones a paradoxical liquidity. Good jewellery should always feel a little magical ✨ #symbolicchase #theodorosjewels #theodoros
A citrine and gold brooch by Suzanne Belperron, manufactured between 1932 - 1955. Like many artists of the period, and indeed beyond, Ancient Egypt has been cited as an important influence for Suzanne Belperron who incorporated themes and motifs in her signature colourful abstraction. This particular brooch is an ode to the lotus flower. For the Ancient Egyptians, its central bud unfolding its radiating petals as it comes to the surface of the water in the morning inspired parallels with the Sun and as such this bloom was used as a symbol of creation and rebirth. Belperron has accentuated this association by using the warm yellow/orange tones of the fiery quartz named citrine to compose her jewel. Its central pear-shaped briolette stone casts fleeting flashes of light as it moves, playing with the slower shimmers of the polished gold contours around it, creating a jewel that celebrates life and light. The final image is from the Karnak Temple in Luxor Egypt #symbolicchase #symbolicandchase #belperron
A pair of Burmese ruby and calibré-cut diamond Cufflinks by Bhagat. Each principle terminal designed as an oval-shaped Burmese ruby flanked by graduated portrait-cut diamonds, connected by curb link chain to a portrait-cut diamond securing terminal, signed BHAGAT. Accompanied by SSEF certificates numbered 131051 & 131050 stating that the rubies weighing 3.354 & 2.586 carats are of medium strong saturation, Burma origin, no heat enhancement. Accompanied by certificates from Gubelin stating that the 3.35 carat ruby is of Burmese origin and unheated and the stone weighing 2.58 carats is of Burmese origin and unheated. #symbolicchase #bhagatjewels #symbolicandchase
A yellow gold and diamond ring attributed to René Boivin, circa 1955. A model we have had in the past...and described by Francoise Cailles as having been designed by Juliette Moutard for Maison Boivin, inspired by pages of an open book... I rather like the idea...and the potential inversion of colours...are the diamonds a representation of gilded pages flashing in the light as the pages fall, and the white pages now contrasted in gold? As always, we are left to interpret without assurances as these masters are no longer with us...but then, that’s part of delight in appropriating a jewel, or any work of art, you appropriate the mystery as much as the item and let your imagination bask in the possibilities. #symbolicchase #symbolicandchase
A Neoclassical banded agate cameo ring, depicting in relief the bust of Hercules or his wife Omphale in profile, wearing the Nemean lion skin, mounted in a yellow gold ring, circa 1800. Ring size 53 1/2. Perhaps the most famous of the ancient heroes, the Greek character Heracles, or Hercules to the Romans, undertook twelve trials in an act of redemption. These tasks - named labours - were immortalised in many works of art from the Classical world until today... The first of these labours saw Hercules tasked with the slaughter of a golden-furred lion that was terrorising the hills around Nemea. Impervious to hercules’ arrows, he chased the lion to its cave - blocking on of its two entrances to find himself in close quarters with his opponent, Hercules used his immense physical strength to strangle it. He subsequently used one of the lion’s own claws to skin it. This pelt, worn as a headdress, is perhaps the most common detail (rivalled only by his tapering gnarled-wood club) used by artists to pronounce Hercules’ identity. This cameo is a great example of the beautified reverential variety of depictions from the Neoclassical years at the turn of the 19th century. That being said, the female facial features and cascading curls of this cameo suggest that this particular depiction is more than likely Hercules’ wife Omphale rather than he himself... as she is also depicted wearing his pelt and sometimes with his club in reference to a Greek comedic addition to Herakles’ labours in which he is sent in servitude to the the queen of Lydia in Asia Minor - Omphale - for a year...during which he was supposedly even depicted wearing women’s clothing and she his famous pelt and club... a rather wonderful comedy of the inversion of roles, one can understand that this chapter of the great hero’s life wasn’t one that took centre stage in many of history’s recollections.. but it did inspire artists through the ages - with sculptures, paintings, plays and even an opera having Hercules’ cross-dressing days brought to light. Omphale freed Hercules after his year of servitude and they married, and had a son....it makes me love this cameo all the more.
A hematite bead and portrait-cut diamond pendant by Theodoros. A contemporary jewel inspired by an Ancient Egyptian jewel… flies were worn by Ancient Egyptians as amulets in gold, silver, bone or lapis lazuli and were probably believed to ward the wearer against insect bites. Perhaps even more interestingly, flies were also revered by the Ancient Egyptians for their deftness of flight and persistence and golden flies were awarded to soldiers as symbols of valour following heroic efforts in battle. The apotropaic jewels were triangular in shape with pronounced head and wings and strung as necklaces or bracelets often embellished with beads... This contemporary iteration is faithful to the ancient proportions but uses portrait-cut diamonds to enhance its form and its subtle flashes of light mimic the speed of flight these familiar insects are admired for... Hematite was also a popular material for Egyptian jewels and precious objects...particularly black hematite such as this...making a contemporary amulet for times when deftness, speed and persistence are as important as they were 3,000 years ago. (The final image is an example of an ancient Egyptian gold necklace named the ‘Flies of Valour of Ahhotep’ and dates from the 17th to 18th dynasties.) #theodoros #theodorosjeweler #theodorosjewels #symbolicandchase #symbolicchase
An agate, diamond and enamel pendant by Cartier Paris. Designed as a caramel-coloured egg-shaped agate vessel, embellished to the lip with a vivid green enamel band and contour of rose-cut diamonds, to a bail of floral design set with rose-cut diamonds. circa 1906, unsigned, numbered and maker’s mark for known Cartier workshop Césard & Sthummer. Dimensions: 3.5cm high and 1.9cm wide. Accompanied by a letter of expertise by Olivier Bachet. #symbolicchase #cartier #symbolicandchase
An aquamarine, ruby and diamond ring mounted in platinum from the 1930s… #symbolicchase #symbolicandchase
An ancient (2nd-3rd Century AD) sardonyx cameo of a fly...mounted around the turn of the 19th century as a yellow gold ring...Ring size 54 1/2. Weight: 3.23 grams Insect jewels...a surprisingly prolific category of jewellery design throughout history...and I’ll admit one for which I have a soft spot. The fly is not an unknown subject in Ancient Rome... its exact significance is difficult to be sure about - the cultural context for a lot of glyptical references is lost - especially animals... so all we have are the timeless attractions - the joy of having a little character to hand/on hand - literally. The cheeky mundane creature that is always with us, pesky but present. This one is soft and friendly in its honey-tones... #symbolicchase #symbolicandchase #cameojewelry
A beautifully fluid pair of French Art Deco diamond bracelets that make a necklace...or a necklace that makes a pair of bracelets...depending on our preference... The flapping about at the end the video is me trying to show how wonderfully flexible these strands are...it’s what makes them such a perfect candidate for a necklace too as they can perfectly contour the neck without discomfort or a break in the design... it seems a small and obvious thing but is exactly the sort of discrete virtuosity that French jewellery from this period is renowned for...we simply can’t replicate it today. #symbolicchase #symbolicandchase
Who else but… JAR …
A pair of graduated old-cut diamond earrings by contemporary Greek jewellery artist Theodoros ... a flexible cascade of diamonds perfect for swishing ... #theodoros #symbolicchase #symbolicandchase
An 18th Century micro mosaic bonbonnière... The annular box set with a central micro mosaic plaque depicting the bust in profile of the ancient god Apollo as leader of the Muses, the statuesque bust en grisaille is embellished with a green laurel wreath and accentuated by a dark green background, circa 1775 - 1800. Dimensions: 8cm in diameter, 2cm high. The depiction of Apollo with flowing robes and locks, adorned with a laurel wreath, is perhaps above all an homage to Apollo in his role as the leader of the nine Muses - Apollo Musagetes. More specifically, Neoclassical depictions such as this were inspired by the opening in 1779 of the ‘Hall of Muses’ in the Vatican Museums. This circular room was populated with (in many instances very heavily) restored statues depicting the nine Muses and Apollo at their centre. The statues had been excavated from the so-called ‘Villa of Cassius’ near Tivoli and all dated from the period of Emperor Hadrian. This micro mosaic’s charm not only in its beautiful subject but also in the unusual colour palette. Similar boxes inspired by famous figures of Classical sculpture are strictly in two contrasting tones. The green tones to the wreath in this scene, and the complimentary choice of dark green for the background to the statue, are pure artistic flare and further highlight this mosaic’s virtuosity. #symbolicchase #symbolicandchase #micromosaic
A gem-set and diamond charm bracelet mounted in platinum, 1930s, three charms by Cartier, one by Charlton… I’ve touched on the charm of charm bracelets a couple of times lately - with the JAR winter treats bracelet and the 1930s one last week in sapphire along the theme of the sea.... this one is the other category of charm bracelet... the one that feels deeply personal... and it’s a different kind of joy. Often collected at milestones or special occasions, these bracelets are confusing at first glance as the original inspiration for the little sparkling characters is forever obscured.. but in its place there is the joy of speculation, of endless imagining, and of storytelling... personally I’ve chuckled to myself a lot with this one... What does each charm make you think of? can you picture the original owner? For me....she was never a fan 🪭 of luck 🍀 and preferred to chart her own course in life, which is exactly what she did when she set sail ⛵️from England to explore the Galapagos islands with the aim of studying ornithological evolutions. Taking the opportunity to sail the whole of South American coast she found herself in the Gulf of Mexico where she thought to recuperate with old family friends - the Hensons - in Mississippi. In turn for an education in agronomy from Paul Henson she regaled them with her adventures, doing her best to describe all the birds she had seen. She elaborated many of her discoveries to embellish her stories, especially to the family’s children, for whom she invented an enormous yellow bird 🐥 who befriended all the children he met...many even speculate this is where little Jim Henson got his inspiration... after an epic transatlantic journey home to England she tired of the sea and settled in London where she turned her hand to bonsai topiary 🌳 and met a traffic 🚦policeman with whom she fell madly in love, after many happy years in the capital she was reminded that a sea farer always finds their way home ⭐️ and she and her policeman retired to the Kent coast making their home in Woodchurch windmill ...using her Henson-learnt skills to plant a resplendent field of yellow flowers in homage of her avian mascot 😉
A Georgian ruby and diamond bow brooch Realistically modelled as a textile ribbon tied in a bow, set with cushion-shaped diamonds, embellished with contouring lines of rubies, circa 1820, mounted in silver, to a later (although still 19th Century) yellow gold brooch fitting. Dimensions: 8cm x 4.3cm. Weight 31.45 grams The bow… an embellished knot whose elegance is timeless. And a great moment to appreciate the potential for variation as we posted another bow from the other end of the century by Lalique last weekend and a few weeks before that a bow by Dusausoy from the late 1930s… Each with their own interpretation, this Georgian one’s opulence is hard to avoid … the depth and size of these 19th century cushion-shaped diamonds (which I’ve tried to capture in the second video) gives it its presence and the soft undulations its character … #symbolicchase
The whimsical charm bracelets produced in both Paris and the USA during the 1930s are one of the most apt testimonies to their time. Playful and yet richly executed, these were often celebrations of the novelties of the era (sport, jazz music, travel...) but this little gem is one that celebrates a most timeless joy - the sea... Probably American, set with sapphires and diamonds, there are six charms; A Marlin fish set with a ruby accent to the eye and blue glass details; a fish in a bowl composed of a carved sapphire fish body, the bubbles each composed of a single diamond, the base of the bowl embellished with baguette-shaped diamonds; a sail boat set with single- and baguette diamonds upon a sea of two tone blue enamel; a swimming fish with a body composed of a carved sapphire, the fins and tail with diamond detail; a crab with diamonds to the main body and a sea horse, further embellished with a half-moon shaped diamond, circa 1930, American, unsigned. Length of bracelet 16.5cm, charm on average 1.6cms long. #symbolicchase #symbolicandchase
A 1940s gold, platinum and diamond ring… Designed as two circular-cut diamonds mounted in a platinum ribbon flowing under yellow gold tubular arches down to the finger, embellished with a further four old European-cut stones, the tapering bombé shank in yellow gold, circa 1940, probably French, unmarked. US ring size 7 1/4, UK generous Size O. #symbolicchase
A platinum, gold and diamond brooch Realistically designed as a ribbon bow, set throughout with old-cut diamonds mounted in gold-backed platinum, the pendent elements composed of articulated sections, circa 1882 - 1899, makers mark for renowned jeweller René Lalique, together with its original Tiffany & Co box. Dimensions: 25 x 8cm, weight 78.6 grams. The end of the 19th Century was an age of glory for jewellery manufacture and innovation. You need only take a cursory glance through the pages of Henri Vever or Eugene Fontenay’s tomes from the period to get a feel for the pride they both felt regarding the position of French jewellery historically and globally. This was not in France alone and it was not vain delusion. Within his puffed out chest, Henri Vever held very dearly the renowned French jeweller René Lalique. The name René Lalique would go on to be synonymous with Art Nouveau and renowned for the ethereal creations he brought to life after 1900. However Vever and his contemporaries already held Lalique in high regard for his designs in the Empire taste. This bow is an exceptional example of the prowess Lalique displayed from the outset of his career. When he began his dealings with Tiffany & Co. in 1882 he was only 22 years old. The size of this brooch is important, it is not a jewel conceived with timidity or humility even. The bow design itself was by no means employed by Lalique alone. Towards the 20th Century, Cartier was perhaps most known for its large bow brooch designs destined for the devant de corsages of Europe’s elite. However this bow is different. It’s not a puffy lace-like flat bow, as was the tendency, but a fluid ribbon with breathtaking realism whose harmonious asymmetry reflects a sensitive observation that Lalique would become so well-known for in his studies of flora and fauna. And it is no surprise that Tiffany & Co. were involved. A temple of American refinement on Madison, Tiffany was at the forefront of bringing the very best of French taste and manufacture to the hungry industrial fortunes of the USA. This brooch is a perfect example of the reason ‘made in France’ held so much cachet.
A French Art Deco platinum and diamond ring … Designed as a central rectangular section, set with a central old-cut diamond weighing approximately 2 carats, within a surround of. smaller stones, to a tapering polished platinum band extending from the top right and bottom left corners a raised line of diamonds, 1930s, unsigned, French assay marks for platinum and indistinct maker’s mark. #symbolicchase #symbolicandchase
A pair of Art Deco emerald and diamond ear pendants, made by Cartier in Paris for a special order in London in 1929. Each designed as a lozenge-shaped geometric drop accented with baguette and bullet-shaped diamonds against a pavé of circular-cut diamonds, set with a central step-cut emerald, suspended from a graduated line of square frustum-shaped links accented with a square-shaped diamond, annular- and square-shaped connecting links, to a stylised-shield-shaped surmount embellished with an emerald, special order from 1929, signed Cartier, made in France and numbered, French assay marks for platinum. Together with their original fitted case. Length: 8.1cm. Weight: 12.9 grams each Quintessentially Cartier, quintessentially Art Deco...made the year of the financial crash that would exacerbate relations in European countries amongst political and social factions and provide fertile ground for the harvest of horror that would ensue...however, these earrings are bold and proud in their geometry, playful and unabashed in the innocence of what was to come...and they survived to dance in the light of another era... #symbolicchase #symbolicandchase #cartier
A Georgian diamond ring. Designed as a heart-shaped rose-cut diamond, below a stylised crown composed of three rose-cut diamonds, mounted in silver, backed in gold, continuing to stylised foliate shoulders and plain band in yellow gold, 1930s. Size 3 3/4 or G 1//2. Crowned-hearts or flaming hearts were popular motifs in the 18th Century. The drawings in the last image are from Jean Henri Prospers Pouget’s Traité Des Pierres Précieuses published in 1762... it’s a language of romance that used as fluently today as it was then. The rose-cut in this example is particularly large for the type of design and makes this little delicate ring surprisingly arresting...just like the love it represents. #symbolicchase #symbolicandchase
An Art Deco carved emerald bead and diamond ring, mounted in platinum, French, 1925 - 1930, unsigned. Embracing the fashion in the 1920s for Indian carved gems, this ring centres on an old fluted emerald bead, undoubtably from India. Cartier and Mauboussin were both known for their prolific use of such stones in this period. In an article from 1924 on Mauboussin under the title ‘Bijoux D’Art’ a carved emerald ring is described as “an ancient emerald decorated by a patient Hindu artist is simply mounted in platinum” In keeping with the fluted bead, a ‘tyger’… this tiger is from 1790 … and seems as astounded by the beauty of the ring as we are 👀 #symbolicchase #symbolicandchase
An Archeological Revival gold and carnelian long chain, circa 1880. Designed after the Classical Roman examples made between the 1st Century AD and the 6th (image in black and white above is an ancient example), this necklace is composed of ancient intaglios and ancient beads mounted at a time when - especially in Rome - jewellers surfed the waves of interest in the Classical world that had ebbed and flowed since the second half of the 18th Century. This particular wave was spearheaded by Roman jewellery dynasty Castellani, who in 1858/9 had been given the enviable task of restoring, and aiding the sale by the Papal State, one of the most important collections of ancient jewellery every assembled - that of the Marquis of Campana... The Campana Collection ended up largely in the Louvre and the Hermitage but whilst in their hands, the Castellani family were able to learn much about the techniques and styles of ancient jewellery and were inspired to create their own designs in the same ilk. This necklace is not signed by Castellani and could well have been made by another house in Rome during the same period... but its use of ancient materials in the ancient style is a lovely example of the way jewellers over many centuries since their rediscovery have marvelled at the beauty of ancient adornments and attempted to pay homage by creating their own inspired versions. #symbolicchase #symbolicandchase
A French made 1920s natural pearl, platinum, ruby and diamond long chain … with a diamond set lobster claw clasp … I suspect this would have been for your lorgnettes (glasses/opera glasses) but then who knows … it could also have been for a lady’s pocket watch … now it can be for anything you so choose. There’s always something quite exciting about a period jewel that feels practical for the modern age. This one is inherently playful, the spacers are so beautifully made and make wonderful distractions for ruminating hands… #symbolicchase #symbolicandchase
A finely engraved nicolo intaglio and gold ring, 2nd Century AD. The oval-shaped banded onyx is engraved to depict a sinuous tree. As we touched on earlier this month when considering the medieval posy ring, trees have been emblematic of strength and steadfastness and prosperity for generations… including as far back as Roman times. The final image shows the ring next to a very similar example in the Koch Collection of rings. This makes a wonderfully wearable (within reason) little gem that is as evocative today as it was the day it was made…maybe even more so today, as there is a wistful nuance to their imagery brought on by the fact that these symbols of strength are in no way as omnipresent as they would have been in 100-200 AD. As precious as this ring is intrinsically and historically, in 2024, its central arboreal figure is every bit as precious. #symbolicchase #symbolicandchase #ancientjewelry #ancientintaglio
Every kind of #chic #cuffchic 💚🩶 Posted @withregram • @symbolicchase A Colombian emerald and diamond hinged cuff made in 1938 by Parisian atelier Rubel Frères for Chaumet. And an emerald and diamond ring of similar composition from the 1930s, French, unsigned. Chaumet have supplied a wonderful certificate for this bracelet that is the stuff of a researcher’s dream… as it highlights a little chapter of its history. Made in 1938 for the New York World’s Fair in 1939, this bracelet was then held in the United States until the end of the war and only returned to Chaumet in Paris in 1955. Hence it appearing in the beautiful fashion spread by Philippe Pottier above in 1957… This was the fate of many jewels following the world fair and unless there was a relationship with a local retailer - such as Mauboussin with Trabert & Hoeffer - then these jewels lay dormant until they could be repatriated after the end of the war and its aftermath had settled. I rather love that idea. Like sleeping beauty… waiting to be awoken. That we found a ring of similar incarnation, or rather it found us, within the same breath, felt rather magical. Made by different hands but both centring on extraordinary emeralds - for both their colour and their size. In the ring, the emeralds have been barely cut and are simply sections of a natural emerald crystal. It’s incredibly rare to find the material perfect enough to use in this way, and the material is of identical colour… as they were conceived in Paris around the same time, it’s tempting to imagine they’re from the same mine … brought to Paris and bought by two different sources. You get the feeling you’ve brought to jewels together that were meant to be… #chaumet #symbolicchase #symbolicandchase
A Colombian emerald and diamond hinged cuff made in 1938 by Parisian atelier Rubel Frères for Chaumet. And an emerald and diamond ring of similar composition from the 1930s, French, unsigned. Chaumet have supplied a wonderful certificate for this bracelet that is the stuff of a researcher’s dream… as it highlights a little chapter of its history. Made in 1938 for the New York World’s Fair in 1939, this bracelet was then held in the United States until the end of the war and only returned to Chaumet in Paris in 1955. Hence it appearing in the beautiful fashion spread by Philippe Pottier above in 1957… This was the fate of many jewels following the world fair and unless there was a relationship with a local retailer - such as Mauboussin with Trabert & Hoeffer - then these jewels lay dormant until they could be repatriated after the end of the war and its aftermath had settled. I rather love that idea. Like sleeping beauty… waiting to be awoken. That we found a ring of similar incarnation, or rather it found us, within the same breath, felt rather magical. Made by different hands but both centring on extraordinary emeralds - for both their colour and their size. In the ring, the emeralds have been barely cut and are simply sections of a natural emerald crystal. It’s incredibly rare to find the material perfect enough to use in this way, and the material is of identical colour… as they were conceived in Paris around the same time, it’s tempting to imagine they’re from the same mine … brought to Paris and bought by two different sources. You get the feeling you’ve brought to jewels together that were meant to be… #chaumet #symbolicchase #symbolicandchase
A gem-set gold and diamond charm bracelet, by JAR Designed as a series of oval yellow gold links, suspending five ‘charms’ comprising: a sculpted wooden hazelnut, a diamond ‘snowball’ pavé-set with single- and brilliant-cut diamonds, a solid yellow gold ‘squirrel’ and ‘pine cone’, and a carved wood ‘truffle’ with black diamond accents, signed JAR Paris, French maker’s mark, French assay marks for platinum and gold, fuchsia JAR pouch. Dimensions: 17.6 cm long. Gross weight: 113.3 grams Charm bracelets are such wonderfully whimsical jewels. They should make you smile… and they should make you curious… because they’re also a conversation. A coded message or an open manifesto of someone’s likes and loves. In many ways this makes them incredibly personal but thanks to the themes that run through mankind you can discover kindred spirits through these bracelets too. In fact, aren’t we always doing that with jewels? Only yesterday I was in conversation with two people around a tray of jewellery and each of us felt drawn to a different jewel… “this one really speaks to me”….there is a secret language between us and the objects we choose… and with vintage jewels we are always adding our voice to a dialogue across time. This bracelet speaks of the joys of winter… of industrious little squirrels - one of the few mammals left visible to us in winter scenes in Europe prancing through the snow to collect their acorns, of pine cones and snow ball fights, and of winter’s ultimate secret ingredient - that definitely divides opinion - the truffle. This bejewelled poem was commissioned by one person, made by another, and will continue to be enjoyed by lovers of winter from this day onwards through time… #jar #jarjewels #jarjewelry #symbolicchase #symbolicandchase
On the final day of our week exploring the work of this fascinating 20th Century jewellery house... #dusausoyweek A platinum, onyx and diamond clip brooch of strong geometric design, composed of superimposed rectangular-shaped sections in polished platinum, onyx, and diamond-set platinum, embellished with a larger single round old-cut diamond weighing approximately 6.50 - 7.00 carats, attributed to Dusausoy, mid 1930s, French assay marks for platinum and gold, partial maker’s mark. Dimensions: Length 5.7cms Width 2.6cms As was the case for so many jewellery houses in Paris, the war years and their aftermath took their toll. The industry never regained the heights of the 1930s and the allure of French workmanship and artistic creation was waning by the 1960s. Dusausoy was by no means dormant. They continued to advertise sporadically as well as participate in exhibitions and create jewels at the forefront of the evolutions in design of the period. But Janine Dusausoy seems to have concentrated her efforts away from the family firm, although she continued to design, draw and exhibit this work. With Jean Dusausoy at the helm, the house kept its activities going until the early 1970s, with Pierre Dusausoy continuing to work within the jewellery trade beyond this, but without the dynamism of both Justin (who died in Paris in October 1960) and the general creative fever of the wider decorative arts revolution, the legacy of the great jewellery house Dusausoy would sadly end with this generation. I hope this week has shed a light on the legacy of this dynamic business and its incredible jewels and agree that it merits a wider audience to acknowledge its place on the central stage of the most dynamic and captivating period in French jewellery history. This final brooch is perhaps the most iconically “Dusausoy” in character. Its graduated stepped design is one that can be seen echoing endlessly through the archives, an old-cut pear-shape hidden amidst its geometric lines hints at an old jewel remodelled, and like all their inimitable designs - It is a love letter to the Modernist revolution in jewellery design written in the timeless language of beauty.
For our second offering on day seven of our week delving into the history and jewellery of Parisian jewellery house Dusausoy... #dusausoyweek Another platinum and diamond brooch, this time of abstract geometric form, set through-out with 19th century brilliant-cut diamonds, centring on a larger single stone, unsigned, late 1930s. Together with its original fitted case by Dusausoy. Justin Dusausoy’s impressive breadth of interest in the many facets of the jewellery industry manifested itself in Dusausoy’s commercial offerings as well as the personal accolades discussed earlier today. Central to the concept of Modernism was (at least publicly) the rejection of the past and yet, whilst being credited with (and admired to this day for) some of the most avant-garde designs of the Art Deco period and embracing the evolutions in modern design, the firm continued to be important traders in vintage jewellery as well as natural pearls and gem-stones. They had an extensive offering of more traditional designs, and proudly kept a museum of vintage jewellery with examples of Lalique and Froment-Meurice amongst other admired French jewellers of the 19th Century. They exhibited this collection as part of retrospectives on French jewellery design hosted on their premises (to much acclaim) as well as a compliment to their contemporary offerings at many international art fairs. In this we get a glimpse of the complex image of survival in the jewellery business at the time and also that of a jewellery house that due to its history, its inter-generational collaboration, and its natural entrepreneurial spirit, was perfectly placed to surf the waves of favour in a financially precarious climate. And in this vision it is easy to see why, as a result of all Justin had contributed to the betterment of the jewellery industry, he was awarded the coveted title of Chevalier de la légion d’honneur in 1927, progressing to Officier de la légion d’honneur in 1937. #symbolicchase #symbolicandchase #dusausoy
On the penultimate day of our week long exploration of the 20th Century Parisian jewellery house Dusausoy we bring you two jewels... #dusausoyweek The first, a platinum and diamond brooch designed as a stylised bow, set with brilliant-cut diamonds and mounted in platinum, signed Dusausoy, late 1930s/early 1940s. As we have been exploring, Justin Dusausoy was a passionate member of jewellery industry and as a natural reflection of this he was a member of a truly astounding number of committees, guilds and unions within the jewellery world. These ranged from financial and industrial committees to unions for stone dealers, he was a member of all the major art societies, encouraged advances in the teaching of jewellery draftsmanship, as well as being a founding member of the administrative council of the retirement home for workers in the jewellery industry and benefactor member of the orphanage for the jewellery industry. We often joke today of our jewellery industry being a small world, but it’s hard to imagine the level of interconnectivity that these societies, unions and guilds encouraged. This bow brooch is a great example of the abstraction championed during the 1930s. The bow design is one that has seen iterations through most of design history. Here its inherently supple drape is cleverly delivered with the rigorous simplicity demanded by the Modern aesthetic...it is the essence of a bow, distilled to perfection. #symbolicchase #symbolicandchase #dusausoy